DOCSLIB.ORG

Complete Minimal Poems Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Complete Minimal Poems Free FREE COMPLETE MINIMAL POEMS PDF Aram Saroyan | 288 pages | 31 Mar 2014 | Primary Information | 9780985136482 | English | United States Complete Minimal Poems by Aram Saroyan | THE VOLTA BLOG In a quick flip through this book, one might find such poems as:. And why write a not-quite-anagram poem like:. Complete Complete Minimal Poems Poems offers a compelling reminder to write poetry playfully, joyfully, and with abiding faith in the tools at your disposal. The unwritten is a dark space, where these spare poems speak louder. I write on a typewriter, almost never in hand I can hardly handwrite, I tend to draw wordsand my machine — an obsolete red-top Royal Portable — is the biggest influence on my work. Complete Minimal Poems Complete Minimal Poems is an enjoyable and surprising reference for the smallest poetic forms, Saroyan eventually exhausted this minimalism. As playful and perception-shifting as the minimal poems may be, this context underscores some other possibilities open to poems. An unresolvable poetic utterance does no harm, or does it? Do optimism and playfulness in poetry undermine its opportunity to be political? Is language play itself a political stance? Erin Watson is a Southern person in Chicago. She writes poetry slowly and lives online at torridly. You are commenting using your Complete Minimal Poems. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Complete Minimal Poems a quick flip through this book, one might find such poems as: sky every day — with its orderly, symmetrical structure and its implied reminder to maintain an awareness of Complete Minimal Poems much larger than yourself. Or the infamously NEA-funded single-word poem lighght which Ian Daly in his article at the Poetry Foundation aptly describes as something you see rather than read: a poem at light speed. Poems like A B C Louder in the dark. Like this: Like Loading Leave a Reply Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public. Name required. Post to Cancel. Post was not sent - check your email addresses! Sorry, your blog cannot share posts by email. By continuing to use this website, you agree to their use. To find out more, including how to control cookies, see here: Cookie Policy. Complete Minimal Poems by Aram Saroyan (, Trade Paperback) for sale online | eBay Ugly Duckling Presse. This book collects nearly all the poems Aram Saroyan wrote in the s, when he was in his early 20s and, as he put it, "the only person available at a typewriter who didn't have some predetermined use in mind for it. Saroyan was the master of the one-word poem. But his works were as musical and meaningful as more conventional poetry, too, and a lot more amusing. The minimal poems were eye openers, ear openers and mind openers, and no one else was doing anything much like them at the time, and no Complete Minimal Poems has since. Granted - as Saroyan has - he was smoking a Complete Minimal Poems of Complete Minimal Poems at the time. But every second person in the United States was, and is, on something or other often enough. The grass factor is interesting because: 1 it's typical of the era, always an interesting dimension of art; 2 one realizes it couldn't be an unfair advantage, since no one else wrote like he did; and 3 the reader's knowledge of it confers a nice extra little psychedelic ting to the pages. Saroyan and his poetic cohort mostly lived in New York, and it was an exhilarating time for poetry - one of those extended moments, like the advent of Cubism in Paris or rockabilly in Memphis, where the artists who got it could do no wrong. Even the least writers of this Second-Generation New York School, as it's sometimes called, were gorgeous and exciting for a while there, in the general vicinity of the St. Mark's Church Poetry Project circa Most of this material appeared in mimeographed pamphlets, but for a short time some of the wildest books were brought out by uptown commercial publishers too. Clark Coolidge's "Space" - he treated words Complete Minimal Poems similarly to the way Saroyan did, but more abstractly Complete Minimal Poems was published by Harper Row. Saroyan's volume "Aram Saroyan" was published by Random House. Its format was a nearly full-size representation of its contents as they would have been in typescript or mimeographin the classic Courier typeface, looking unevenly inked, printed on one leaf-side each, for a total sheaf of only 30 poems. The book could be read in two minutes or so as it was, aloud, by Edwin Newman on the "NBC Evening News" in New Yorkbut one could look for a long time at its pages as well, repeatedly, and Complete Minimal Poems great Complete Minimal Poems and pleasure. Some of Saroyan's poems could only be looked at; they Complete Minimal Poems be pronounced:. Jesse Helms would use "lighght" to mock the National Endowment for Complete Minimal Poems Arts after Saroyan won a cash award Complete Minimal Poems it. Some of Saroyan's other poems Complete Minimal Poems about real-life phenomena made of words, so to speak, like the Joycean. Others were more about the effects of the sounds of the words, as well as their Complete Minimal Poems similar sounding words tending also to look aliketangled up with their denotations:. You could feel him in a room at his typewriter, like a monkey or a cat with a little extra brainpower. Saroyan was known as a "concrete poet" - that is, he was writing poems meant to be looked at as much as read. His poems aimed to be things as well as words, and they used all the resources of the alphanumeric page or slab of stone, as Ian Hamilton Finlay did, or poster or other medium rather than being merely linguistic expression of pre-existing ideas or perceptions. All interesting poems do this to a degree, poetry being a recognition that consciousness is made of language, but concrete poems are an extreme example, which accounts for a substantial part of their poetic pedigree and high-class license. The back cover of Saroyan's second Random House book, "Pages" carried this author's note: "I write on a typewriter, almost never in hand I can hardly handwrite, I tend to draw wordsand my machine - an obsolete red-top Royal Portable - is the biggest influence on my work. This red hood holds the mood, keeps my eye happy. The typeface is a standard pica; if it were another style I'd write subtly different poems. And when a ribbon gets dull my poems I'm sure Complete Minimal Poems. Saroyan is more literary, though, than the label "concrete poet" might suggest. His ear is as sensitive and pleasure-hungry as his eye, as can be heard in that "This red hood holds the mood, keeps my eye happy," which is practically pornographic. His sensuality isn't obscene, though. It's clean and open and cheerful. His literary forebears were the rugged, Complete Minimal Poems and openhearted Black Mountain poets and the Beats of the '50s, specifically Robert Creeley and Jack Kerouac. And as Saroyan has often described, he was a child Complete Minimal Poems the '60s, with those values of community and peace and love. He's written, in fact, that the disillusionments of - Complete Minimal Poems, the murders of Martin Luther King and Robert Kennedy - had a lot to do Complete Minimal Poems why Complete Minimal Poems stopped writing for the subsequent five years, and why he permanently dropped his minimal mode, which he associated with the innocent spirit of pre-' He's also written that he'd simply exhausted that aesthetic for himself. The minimal poems are not just whimsical '60s trippiness. They're much more than novelties. This beautifully designed collection contains a poetry that shivers with itself, like something just born. Anyone interested in art made from words should have it. Some of Saroyan's poems Complete Minimal Poems only be looked at; they couldn't be pronounced: lighght Jesse Helms would use "lighght" to mock the National Endowment for the Arts after Saroyan won a cash award for it. Home Page World U. Complete Minimal Poems - Harvard Book Store Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try Complete Minimal Poems. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Complete Minimal Poems by Aram Saroyan. Visual Poetry. Long-cherished in out-of-print editions, anthologies and text books, and more recently celebrated on the internet, Aram Saroyan's groundbreaking concrete and minimalist poems of the s are gathered together here in a single, much-needed volume. Complete Minimal Poems ties to the work of such writers and artists as e. Get A Copy. Paperbackpages. More Details Original Complete Minimal Poems. William Carlos Williams Award Other Editions 2. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Complete Minimal Poemsplease sign up. How do you interpret lighght? See 1 question about Complete Minimal Complete Minimal Poems. Lists with This Book. Community Reviews. Showing Average rating Complete Minimal Poems.
Load more

Recommended publications
  • Aram Saroyan and the Art of the One-Word Poem
    Aram Saroyan and the Art of the One-Word Poem printfriendly.com/p/g/n9FxdK September 8, 2020 thereader.mitpress.mit.edu/art-of-one-word-poem/ “In effect the single word is a new reading process; like electricity — instant and continuous.” "lighght" may look like a felicitous typo, but the poem was not the result of an accident. Image: Detail of Aram Saroyan's "lighght," 1965. By: Paul Stephens A really perfect poem has an infinitely small vocabulary. —Jack Spicer, “Second letter to Federico García Lorca” Writing in 1961, at the founding of the Oulipo ( Ouvroir de littérature potentielle) movement, Raymond Queneau and François Le Lionnais, two of France’s most significant postwar literary experimentalists, wondered to one another “how few words can make a poem?” 1/15 According to Le Lionnais, this question would preoccupy the two until Queneau’s death 15 years later. Even in 1976, they doubted that a poem could be constructed from fewer than several words. Perhaps because their backgrounds were not primarily in experimental poetry or postwar art (Le Lionnais was a mathematician and Queneau primarily an editor and novelist), the two oddly overlooked concrete poetry, a form of visual poetry that uses the arrangement of words to convey meaning. The two also seemed unaware of the work of Aram Saroyan, whose mid-1960s poems explored and broke the limits proposed by Queneau and Le Lionnais. Though the Oulipo’s founders may have been underinformed about concrete poetry, their skepticism is telling: Setting aside concrete poetry in the 1950s, it was not until the 1960s with the contemporaneous emergence of pop art, minimalism, and conceptual art that a single word or letter could be recognized as a poem.
    [Show full text]
  • CONGRESSIONAL RECORD—SENATE September 17, 1997
    S9450 CONGRESSIONAL RECORD Ð SENATE September 17, 1997 the debate, which is on a seriously con- are proceeding. We should have those Mr. BRYAN. Mr. President, I ask tested amendment. bills from conference today. unanimous consent that the pending I suggest the absence of a quorum. We have just passed a military con- amendment be laid aside. The PRESIDING OFFICER. The struction bill. The PRESIDING OFFICER. Without clerk will call the roll. We have in conference the Depart- objection, it is so ordered. The legislative clerk proceeded to ment of Defense conference which had Mr. BRYAN. I thank the Chair. call the roll. its first meeting yesterday. AMENDMENT NO. 1205 Mr. STEVENS. Mr. President, I ask The VA±HUD bill, the Energy bill, (Purpose: To reduce funding for Forest unanimous consent that the order for the foreign ops bill, and Transpor- Service road construction and eliminate the the quorum call be rescinded. tationÐwe expect, Mr. President, all of purchaser credit program) The PRESIDING OFFICER. Without those will be out of conference early Mr. BRYAN. Mr. President, I offer an objection, it is so ordered. next week. amendment and submit it for imme- The Senator from Alaska is recog- That will leave us five bills to still diate consideration. nized. finish. The PRESIDING OFFICER. The Mr. STEVENS. Thank you, Mr. The District of Columbia bill has not clerk will report the amendment. President. passed the Senate yet, nor the House. The legislative clerk read as follows: The Senator from Nevada [Mr. BRYAN], for f We have before us now, under the guidance of the Senator from Washing- himself, Mrs.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Three Very Short Poems: the Verbal Economics of Twentieth-Century American Poetry a Dissert
    UNIVERSITY OF CALIFORNIA Los Angeles Three Very Short Poems: The Verbal Economics of Twentieth-Century American Poetry A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Jeremy A. Schmidt 2020 © Copyright by Jeremy A. Schmidt 2020 ABSTRACT OF THE DISSERTATION Three Very Short Poems: The Verbal Economics of Twentieth-Century American Poetry by Jeremy A. Schmidt Doctor of Philosophy in English University of California, Los Angeles, 2020 Professor Michael North, Chair This study examines three very short poems from three distinct moments in recent literary history in order to determine the limits of the poetic virtue of concision and to consider the social and aesthetic issues raised by extreme textual reduction. Attending to the production, circulation, and afterlives of Ezra Pound’s “In a Station of the Metro” (1913), Gwendolyn Brooks’s “We Real Cool” (1959), and Aram Saroyan’s “lighght” (1966), I argue that such texts necessarily, and yet paradoxically, join simplicity and ease to difficulty and effort. Those tense combinations, in turn, make these poems ideal sites for examining how brevity functions as a shared resource through which writers define and redefine what constitutes poetic labor and thus negotiate their individual relationships to the poetic tradition. In tracing those negotiations, Three Very Short Poems: The Verbal Economics of Twentieth-Century American Poetry participates in the ongoing reassessment of the relationship between literary modernism and mass culture by ii foregrounding art-poems that have reached unusual levels of popularity. Each of the three central chapters combines standard literary and reception history with formal analysis in order to tease out how the origin of a specific famous poem relates to its subsequent reprintings and reworkings.
    [Show full text]
  • National Endowment for the Arts: a History 1965-2008
    national endowment for the arts a h i s t o r y 1965–2008 national endowment for the arts a h i s t o r y 1965–2008 Edited by mark bauerlein with ellen grantham national endowment for the arts washington, dc Editor: Mark Bauerlein Associate editor: Ellen Grantham Production manager: Don Ball Design: Beth Schlenoff Design Cover photo: Terry J. Adams, National Park Service 202-682-5496 Voice/TTY (a device for individuals who are deaf or hearing-impaired) Individuals who do not use conventional print materials may contact the Arts Endowment’s Office for AccessAbility at 202-682-5532 to obtain this publication in an alternate format. Library of Congress Cataloging-in-Publication Data National Endowment for the Arts. National Endowment for the Arts : a history, 1965–2008/ edited by Mark Bauerlein with Ellen Grantham. p. cm. Includes index. isbn 978-0-615-23248-5 1. National Endowment for the Arts—History. 2. Federal aid to the arts—United States—History. I. Bauerlein, Mark. II. Grantham, Ellen, 1979– III. Title. NX735.N384 2009 700.973—dc22 2008049381 “The arts and sciences are essential to the prosperity of the state and to the ornament and happiness of human life. They have a primary claim to the encouragement of every lover of his country and mankind.” George Washington Contents Foreword . vii Part I: The History Of The NEA Introduction . 1 Chapter 1: Hope and Inspiration . 5 Chapter 2: A New World Beckons . 13 Chapter 3: A Fresh Direction . 31 Chapter 4: A Long Summer . 55 Chapter 5: The Reagan Era .
    [Show full text]
  • Self-)Translation : an Expropriation of Intimacies
    V O L. 2 || N O. 2 || S U M M E R 2 0 1 0 a publication of The Intercultural Alliance of Artists & Scholars, Inc.(IAAS) a New York nonprofit organization Gabrielle David 22 Editor-in-Chief Jennifer Bacon Associate Editor Timothy Liu Guest Editor Jon Sands Editor Lorraine Miller Nuzzo Art Director Angela Sternreich Program Director 38 Michelle Aragón Director, Marketing Communications Nikita Hunter Director of Curriculum and Instruction BOARD OF DIRECTORS Gabrielle David, Chair Angela Sternreich, Secretary Lynn Korsman, Treasurer 48 Shirley Bradley LeFlore Stephanie Agosto Michelle Aragón Naydene Brickus Nikita Hunter Advisory Board Kenneth Campbell Robert Coburn 52 Andrew P. Jackson (Sekou Molefi Baako) Special Advisor for the IAAS Board phati’tude Literary Magazine is published quarterly (Winter, Spring, Summer and Fall), ISSN: 1091-1480; ISBN: 1453688919; EAN- 13: 9781453688915. Copyright © 2010 by The Intercultural Alliance of Artists & Scholars, Inc. (IAAS). All rights reserved. Printed and bound in the U.S.A. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical without permission in writing from the Publisher. The views expressed by authors do not necessarily reflect the opinions of the editors of phati’tude Literary Magazine, the Board of Directors of the IAAS, donors or sponsors. Single issue: US$18; Annual subscriptions: US$65; Int’l-Canadian: US$75; Institutional US$110. We offer special discounts for classes and groups. The Publisher cannot guarantee delivery unless notification of change of address is received. Visit our website at www.phatitude.org. Manuscripts with SASE, letters to the editor and all other correspondence to phati’tude Literary Magazine, P.O.
    [Show full text]
  • Aram Saroyan Papers, 1965-1989 LSC.0991
    http://oac.cdlib.org/findaid/ark:/13030/kt487004wd No online items Finding Aid for the Aram Saroyan papers, 1965-1989 LSC.0991 Finding aid prepared by Processed by Tine Spencer; machine-readable finding aid created by Alight Tsai UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 04 January 2018. Finding Aid for the Aram Saroyan LSC.0991 1 papers, 1965-1989 LSC.0991 Title: Aram Saroyan papers Identifier/Call Number: LSC.0991 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 27.5 linear feet(55 boxes) Date: 1965-1989 Abstract: Aram Saroyan (1943- ) was a author, publisher, and editor of Lines poetry magazine (1964-65). He also contributed poetry and prose to the New York Times Book Review, Nation, and Poetry. The collection consists of correspondence and manuscripts sent to Aram Saroyan while he was the editor of Lines as well as books written or published by Saroyan, periodicals and anthologies containing his work, and presentation copies of books given him. Language of Materials: Materials are in English. Physical location: Stored off-site at SRLF. All requests to access special collections material must be made in advance using the request button located on this page. Creator: Saroyan, Aram Conditions on Use and Reproduction Property rights to the physical objects belong to UCLA Library Special Collections. All other rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright.
    [Show full text]
  • Dworkinimaginary.Pdf
    CRAIG DOUGLAS DWORKIN The Imaginary Solution The production of aesthetic or narrative form is to be seen as an ideological act in its own right, with the function of inventing imaginary or formal “solutions” to unresolvable social contradictions. Fredric Jameson, The Political Unconscious Quoniam mihi quidem alia adhuc via non patet istud praestandi, nisi per imaginaria procedendo, formulam ÷``–1 littera i in posterum designabo. [Since the only way to make any progress has been by proceeding along an imaginary path, I henceforth designate the negative square root with the letter i.] Leonhard Euler, Institutionum calculi integralis rom the modernism you want,” quipped David Antin, “you get the postmodernism you deserve.”1 True “F enough, as the last quarter century has shown; Antin’s dynamic nicely encapsulates the logic of canons, in which interventions resonate both forward and backward, as lineage and precedent adjust to accommodate and account for apparent rup- tures or discontinuities. But Antin’s instant proverb is also a good reminder that whatever the dominant canon might be—whatever it is that comes to mind at the thought of “modernism” or “postmod- For opportunities to present and discuss portions of this project, I would like to thank Lou Asekoff, Benjamin Buchloh, Stuart Culver, Hal Foster, John Guillory, Yunte Huang, Alan Liu, Robert Viscusi, and especially Tania Ørum—this essay is for her. 1. I have been unable to locate the source of Antin’s adage, but it is widely quoted. See, for the earliest instance I have traced, Marjorie Perloff, “Postmodernism / Fin de siècle” 177. Contemporary Literature XLVIII, 1 0010-7484; E-ISSN 1548-9949/07/0001-0029 © 2007 by the Board of Regents of the University of Wisconsin System 30 • CONTEMPORARY LITERATURE ernism” or “contemporary literature”—the lack of critical consensus on the literature of the previous century means that there are still viable alternatives for our sense of the contemporary.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Three Very Short Poems: The Verbal Economics of Twentieth-Century American Poetry Permalink https://escholarship.org/uc/item/23q9t3c3 Author Schmidt, Jeremy Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Three Very Short Poems: The Verbal Economics of Twentieth-Century American Poetry A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Jeremy A. Schmidt 2020 © Copyright by Jeremy A. Schmidt 2020 ABSTRACT OF THE DISSERTATION Three Very Short Poems: The Verbal Economics of Twentieth-Century American Poetry by Jeremy A. Schmidt Doctor of Philosophy in English University of California, Los Angeles, 2020 Professor Michael North, Chair This study examines three very short poems from three distinct moments in recent literary history in order to determine the limits of the poetic virtue of concision and to consider the social and aesthetic issues raised by extreme textual reduction. Attending to the production, circulation, and afterlives of Ezra Pound’s “In a Station of the Metro” (1913), Gwendolyn Brooks’s “We Real Cool” (1959), and Aram Saroyan’s “lighght” (1966), I argue that such texts necessarily, and yet paradoxically, join simplicity and ease to difficulty and effort. Those tense combinations, in turn, make these poems ideal sites for examining how brevity functions as a shared resource through which writers define and redefine what constitutes poetic labor and thus negotiate their individual relationships to the poetic tradition. In tracing those negotiations, Three Very Short Poems: The Verbal Economics of Twentieth-Century American Poetry participates in the ongoing reassessment of the relationship between literary modernism and mass culture by ii foregrounding art-poems that have reached unusual levels of popularity.
    [Show full text]
  • Golf Roundups
    Fort Job Gut Parley Set Tomorrow SEE STORY PAGE 11 Cloudy, Cool Cloudy, cool today, gradual- Iy clearing tonight; Sunny, FINAL seasonable tomorrow, Red Bank, Freehold (Set Deuiis, Fig* 2X Long Branch EDITION ,Monmonth County's Home Newspaper tor 92 Years VOL. 93, NO. 204 RED BANK, N. J., TUESDAY, APRIL 14, 1970 18 PAGES 10 CENTS Apollo 13 Crew Is Fighting for Life By HOWARD BENEDICT The astronauts' dreams of remained cool from the mo- They noted an immediate in space, their only hope foi SPACE CENTER, Houston achieving man's third lunar ment;1 about 9:15 p.m. EST drop in power and oxygen salvation. They switched on (AP)—Apollo 13's astronauts, landing were dashed by the yesterday, when Lovell supply in the command ship. its systems, and sent oxygen imperiled by a violent space- sudden, chilling accident last alerted the world with the Experts troubleshot the prob- flowing into the command ship rupture, battled today to night that burst a tank and sudden utterance: "Hey, lem and radioed hundreds of ship, enabling them to inhabit return their crippled craft drained their command ship we've got a problem here." orders to the astronauts. its cabin. to earth from a quarter mil- of electrical power and oxy- Scores of persons in Mis- The' spidery lunar vehicle But the LM is built to oper- lion miles away. Their lives gen. sion Control Center stiffened. (LM) became their lifeboat (See Mission, Pg. 2) depend on their skill and Switch Ships that of hundreds of experts With barely 15 minutes of on the ground.
    [Show full text]
  • The Armenian Resort Town Bared Maronian Has Used His Talents in a Variety of Outlets, Especially in Florida Pub - of Yezidis in Iraq
    AUGUST 30, 2014 MirTHErARoMENr IAN -Spe ctator Volume LXXXV, NO. 7, Issue 4350 $ 2.00 NEWS IN BRIEF The First English Language Armenian Weekly in the United States Since 1932 FM to Attend Karekin II Condemns Erdogan’s Violence against Inauguration, Yezidis YEREVAN (Armenpress) — Catholicos of All Armenians Karekin II has sent a letter of support Pose Question to Mir Tahsin Beg Saied, the temporal leader of the Yezidi community of the world, through Archbishop Avak Asaturian, the Primate of the On Genocide Armenian Diocese of Iraq. According to the press service of the Holy See, the message included the YEREVAN (RFE/RL) — Armenia’s politi - following statement: “From the spiritual center of cal leadership has been invited to attend all Armenians, the Mother See of Holy Echmiadzin, Turkish President-elect Recep Tayyip Emmy Winner Pays Bared Maronian we extend our condolences to You on the ongoing Erdogan’s inauguration and is likely to mass killings of the Yezidi population in Iraq. We send Foreign Minister Eduard Nalbandian Tribute to Women of the Genocide are deeply concerned about the violence and the to the ceremony slated for Thursday, it resultant numerous victims in the northern part of emerged at the weekend. Both Victims and Rescuers to Be Subject of Documentary Iraq.” President Serge Sargisian revealed the The catholicos called on international organiza - Turkish invitation as he visited a pro-govern - COCONUT CREEK, Fla. — For many years now, writer, director and producer tions to take immediate steps to stop the massacres ment youth camp in the Armenian resort town Bared Maronian has used his talents in a variety of outlets, especially in Florida pub - of Yezidis in Iraq.
    [Show full text]